My gaze changes day by day: what interests me today may stop interesting me tomorrow, and vice versa. In this process, I try to keep curiosity alive and continue looking at the world with the same eyes with which I once learned to photograph.

I feel most like myself during golden hour, when the light inspires me.

Watching my country participate in the genocide in Gaza has made me change my mind about many things I thought I understood and has made me feel embarrassed for the naïve beliefs I once took for granted.

I went out with my family—whom I hadn’t seen in 15 years—to deliver large water jugs to the farming fields in Patole, Sinaloa, and I brought my analog camera with me to photograph life in the fields.

Durante mucho tiempo estuve enfocado en hacer retratos, pero en los últimos dos años, me he enfocado más en salir y hacer fotografía de calle en mi ciudad o en los lugares a los que viajo.

I’m interested in portraying images that convey melancholy and solitude, focusing on the process of inhabiting the world as human beings. I’m drawn to capturing intimate and quiet moments that speak about the experience of existing. 

Rather than closed projects, my practice functions as a process of exploration and inner discovery, where each image becomes an episode that feeds into a larger project focused on maintaining my sense of wonder, feeling present, and nurturing an internal dialogue.

La ropa carga códigos sociales, tiempo, clase y la presencia del mundo construido por el ser humano; todos elementos que deliberadamente excluyo de mis pinturas. Al retirar eso, el cuerpo puede existir en y con la naturaleza, como algo elemental y no construido.

Currently I’m in the process of working on four projects at the same time: my collaborative design shop, the new collection for my brand, a fashion show with two other brands, and also an analogue photography documentation project.

Despite usually engaging in street photography and photojournalism, I've been slowly formulating an idea for a photographic book on the art form and culture surrounding tattooing.

Lately, I’ve been diving into medium format slide film with my beautiful RB67. The simple complexity of its mechanical operation has me enthralled.

I’m on a lifelong mission to take portraits of my beautiful friends. I have a roll of Ilford FP4 Plus in one of my cameras at the moment for double exposing. I’m nearly finished with that one and I’m super excited to see how they come out.

Being creative takes time, money, risk, failure, many different aspects which can be easy to avoid with the demands of life. Trying to find a balance that can be sustainable is important.

From photos of my loved ones to strangers and scenes I observe on my travels, I couldn’t imagine a world where that no longer feeds my soul. I hope you enjoy this selection of film photos pulled from this ever-growing archive.

Those late hours resonate with me as it's so quiet and calm, which draws to me being a an introvert and spending a lot of time in solitude exploring life and its experiences.

One of the central axes has been solitude—not as a lack or something negative, but as a necessary space to encounter oneself. From a perspective close to Taoism, solitude becomes silence, and silence becomes clarity.

This year I’ll travel across the Baja California Peninsula, from Tijuana to Cabo San Lucas. More than a vacation, this is the first somewhat serious project I’ve done since university.

A few years ago, I understood that I probably won’t be able to make a living from what I love, so I dedicate myself to it without pretensions — simply with the desire to learn, improve, and feel at ease while doing it.

Once I began working with analog photography, I gave my work a sense of pursuit. Everything I photographed became a constant questioning of belonging, identity, and the simple act of existing and “being.”

I’ve done some close-up (almost abstract) work of pinball machines using extension tubes, some macro work of sea shell fragments — average of about 4mm in size and printed out really big. Amazing.

It’s hard to feel like you belong when you’re constantly changing cities, apartments, jobs, and circles of people.

For me, film is very personal — I love taking photos of people. I use film to capture everyday moments: weekends with friends and getaways to different places where a touch of landscape photography sneaks in.

The beauty of the craft is that you never know what you’re going to create. Moments present themselves, and photography allows me to make them permanent. The only choice becomes pure presence.

Lately, I’ve been working alongside my partner on a multimedia project that intersects performance, video, and music, incorporating my handmade masks and analog photography.

I love to live, and I’d like to live forever if it were an option. To travel to every town and country, try every profession, engage in every hobby. Life’s finiteness is still hard for me to accept.

I recently took a trip to Argentina between the months of December and January to meet my family for the first time. I shot the whole trip, which I’m currently planning on expanding into a project.

During the crafting of Siblinghood I had the privilege of discovering the magical world of physical mixed-media animation. I grew a newfound appreciation for stop-motion animation, and fell in love with the intricacy of designing every frame.

Words give rise to images and sensations within me, which I carry quietly, letting them take shape over time, until they find their way into a photographic series.

I try to experiment with the range of tones and textures that film provides, along with the everyday expressions of nature and its biodiversity.

The habit of taking my rolls to be developed and saying, “this roll, yes,” and then accepting that no, not this one either.